SETTING THE CONTEXT (10-15 minutes): In nearly two decades of teaching, I have noticed that youth speak eagerly and richly about texts, but their texts are not the texts interrogated in the schools. Since digital resources “mediate the world” (Buckingham, 2009, p. 5), youth must code switch from print-centric school learning to more authentic interactions with their digital social worlds. Their "guilty pleasures" extend well beyond public school curricula. I require students to compose with visual, video, audio, digital and print forms of expression. In this round table discussion, we will view several multimodal student artifacts and collaborate on ways that assessment can more keenly describe the rich quality of such compositions.
DISCUSS AND SHARE (15 minutes):
To what extent should youth digital compositions have parameters? Is digital composition strictly as art any longer enough?
In what ways can youth and their instructors communicate authentic learning through digital and media experiences?
How does assessment change when digital composing is required?
How should we design rubrics so that digital composing does not interrupt flow?
Students were required to incorporate themes, interpretive language, direct excerpts,and a choice of modality into an original composition surrounding their independent reading texts.
HOT TOPICS FOR LEARNING
CATCHY TITLE:
Is It Digital Art or Digital Learning?
SETTING THE CONTEXT (10-15 minutes):
In nearly two decades of teaching, I have noticed that youth speak eagerly and richly about texts, but their texts are not the texts interrogated in the schools. Since digital resources “mediate the world” (Buckingham, 2009, p. 5), youth must code switch from print-centric school learning to more authentic interactions with their digital social worlds. Their "guilty pleasures" extend well beyond public school curricula. I require students to compose with visual, video, audio, digital and print forms of expression. In this round table discussion, we will view several multimodal student artifacts and collaborate on ways that assessment can more keenly describe the rich quality of such compositions.
DISCUSS AND SHARE (15 minutes):
To what extent should youth digital compositions have parameters? Is digital composition strictly as art any longer enough?
In what ways can youth and their instructors communicate authentic learning through digital and media experiences?
How does assessment change when digital composing is required?
How should we design rubrics so that digital composing does not interrupt flow?
ADDITIONAL RESOURCES:
6-trait narrative rubric
Digital Artifacts:
Students were required to incorporate themes, interpretive language, direct excerpts,and a choice of modality into an original composition surrounding their independent reading texts.Water for Elephants graffiti wall
Water for Elephants magazine
Water for Elephants Storify composition
The Bell Jar Storify composition
Cutting for Stone art gallery
No Country for Old Men film
Waiting for Godot web comic
Siddhartha blog
Being There blog
Bartleby the Scrivener diagram
Rubric in Progress
Rubric for Multimodal Project
The following performance standards for a digital project were generated by participants in URI’s 2013 Summer Institute in Digital Literacy:Performance Standards for Digital Projects
The student should infuse in the composition….Reflection
So... How would we assess a final project for a Sports and Popular Culture Course? :)
PawSox Field Trip
Summer's Final SPC Project